[Shakespeare Memorial Theatre, Stratford-upon-Avon.] 37 items, including 21 ALsS from librarian W. S. Brassington to one of the Theatre’s governors, Dr E. M. Boddy, regarding his gift of portraits to Shakespeare Memorial, and resulting disagreement.

The Shakespeare Memorial Theatre was founded through the efforts of local brewer Charles Edward Flower (1830-1892), after whose death its management was taken over by his brother Edgar Flower (1833-1903), also Chairman of the Shakespeare Birthplace Trust. On Edgar’s death these duties fell to his son Archibald Flower (1865-1950), several times mayor of Stratford-upon-Avon. The present correspondence concerns a gift to Shakespeare Memorial Association by the appropriately-named anatomist Evan Marlett Boddy. Between 1899 and 1901 Boddy donated at least twelve portraits to be hung in the Shakespeare Memorial reading room (from the correspondence wood carvings also appear to have been donated). Details of the first seven portraits are contained in a letter of 11 December 1899 from Boddy to the Shakespeare Memorial librarian the archaeologist W. S. Brassington (for which see below). The paintings included supposed works by Henry Fuseli (‘The Fuseli Macbeth’) and Sir Peter Lely (Nell Gwynne), Henry Wyatt (Coleridge), and a portrait said to be by Romney of a young Percy Bysshe Shelley (five letters by Brassington relating to which are offered separately), one of Alexander Pope (‘attributed to Hogarth’), as well as a ‘Garrick portrait’, one of Nell Gwynne, and a ‘Spanish Lady’. In 1916 Boddy demanded their return, on discovering that the Archibald Flower had broken the condition that Boddy had arranged in 1900 with the then librarian W. S. Brassington: ‘The Portraits were to be hung together and remain so.’ The present collection of 37 items is in good condition, lightly aged, apart from a couple of items are creased and worn, both being repaired with archival tape. The 20 of Brassington’s 21 letters dating from the years 1899 to 1902 (totaling 39pp, 12mo; and 1p, 4to) convey his enthusiasm with regard to the donation. In the first letter, 9 December 1899, Brassington acknowledges receipt of a letter from Boddy ‘respecting portraits of Shakespeare’, noting with pleasure Boddy’s ‘kind proposal to present the pictures to the Shakespeare Memorial’. Three days later (12 December 1899) he arranges to ‘come over and view’ ‘the pictures which you so generously propose to bestow upon the Shakespeare Memorial’. On 16 December arrangements are made for the removal of the pictures by ‘stage carpenter’ Henry Mann, with Brassington reporting that ‘Mr Flower, our Chairman, who is at present away from home [...] thinks it most kind of you to make this very handsome present’. And a week later (19 December 1899) he acknowledges receipt of ‘the seven portraits which you so generously bestow upon the Shakespeare Memorial’, adding ‘Now that the portraits are in a good light I am more than ever delighted with them, and I think you will be so when you see them in the Gallery.’ On the same day (19 December 1899) Edgar Flower writes to Boddy from The Hill, Stratford-on-Avon, as ‘Chairman of the Council’, to report ‘how greatly the gift is approved’. He continues: ‘In due course you will receive an official acknowledgment but in the meantime allow me to say personally that I consider each of the portraits as of great merit and interest and that they wil be conserved as your gift in the gallery to which they are a magnificent addition’. Six months later the works have been properly hung, and on 23 June 1900 he writes that the ‘beautiful pictures have been much admired to-day by our London visitors, many of whom had not seen Stratford before’. Four days later he informs Boddy that his ‘beautiful pictures reached here in safety. The “lady” is before me in a good north light, and looks magnificent.’ Shortly afterwards (10 July 1900) he goes into some detail with regard to the hanging: ‘The “Spanish Lady” and other pictures now adorn the walls of the Memorial, and are being very greatly admired. Mr Flower is unwell and I have not been able to obtain his signature to a card of thanks, but at the monthly committee meeting great satisfaction was expressed at your generosity. The Grinling Gibbons’ carving now stands upon the carved oak mantle shelf of the Reading Room. It is most handsome, and suitable, since it represents the arms of London, where Shakespeare lived for the greater part of his life. Moreover the carving hides an ugly modern Dutch bronze portrait of Shakespeare, now well out of sight! / The Seven ages of Man adorn the staircase. And the “Spanish Lady” hangs over-against Nell Gwynne above the other portraits in the end gallery.’ (The letter continues with speculation about the subject’s identity.) On 23 July 1900 he reports: ‘The two valuable additions to the collection of paintings so kindly presented by you to the gallery are now placed on the walls. The Fuseli hangs near another example by the same master in the 1st gallery, the Sir Peter Lely is placed with the other portraits between Nell Gwynn and the Spanish Lady’, which is ‘one of the most beautifully painted pictures I have ever seen’. He is so struck by it that he ‘went to the Dulwich Gallery last week to make notes, but found nothing like this picture there’. A letter of 1 November 1900 begins by commending Boddy’s gift of the proof of his ‘brochure’ ‘Shakespeare’s Garden’. Brassington then discusses his holiday ‘in a cottage on the quay at Minehead. We had a good time at that old-world place and I ventured to Stratford refreshed. I had found the summer season with its crowd of Americans rather trying.’ He is relieved that Boddy was well treated by the staff in his absence: ‘they all take the greatest interest in the work of the memorial [...] Unfortunately of late there has been a discordant note sounded by Miss Corelli, but people here are now aware that a great fuss is being made about a little matter.’ Turning to Boddy’s gift he writes: ‘I am glad you approve of the arrangement of the portraits. We expect next week to receive a portrait and a bust of Miss Mary Anderson, and possibly a bust of Ellen Terry, so you see we are adding to the collection and to the interest of the place.’ On 27 November 1900 he reports that he has been told by ‘Elliott’ that ‘the portrait of the boy with a dog, which you recently presented to the Memorial, appears to me to be more like the work of Vandyck than of any other artist. I sincerely hope it may be so’. And on 18 January 1901 he writes: ‘The two paintings reached here safely - they are beauties.’ On 3 June 1901 Brassington writes on the wider question of ‘Memorial Picture Gallery’, reporting that he has had ‘a call from Mr Frank Richards, [1863-1935; Newlyn School] an artist, late of Birmingham, now of No. 6 Addison Studios West Kensington. / Mr Richards has painted a large picture of “Hamlet” which he wishes to place in the Memorial Picture Gallery. Sir Henry Irving and Mr Flower have offered £10. each towards a subscription to buy the picture for the Memorial, and it is possible that Mr Richards may write to you on this subject.’ He gives further details of appeal, reporting Edgar Flowers’ opinion that that painting is ‘a fine work of art, though in his opinion the face of Hamlet is too old looking’. He discusses the difficulties involved in dealing with such a ‘large Shakespearian picture’, two or three of which have been offered to the Memorial, there being ‘no fund for the purchase’, and a reluctance on the part of the governors ‘to make an appeal either to the Governors or the public. The Committee feel that any suggestion of begging for donations should be avoided, at the same time they dont like the idea of refusing a good and suitable picture’.Fifteen years later the mood has drastically worsened. Seven items from 1916, mostly carbon copies of TLsS, dealing with a complaint by Boddy regarding the handling of a collection of historic portraits presented by him to the Shakespeare Memorial Association in 1900. Boddy states in a TLS (copy?) to Steward Dick, from Ashted Row, Birmingham, 17 June 1916: ‘I was certainly more than surprised to find my pictures scattered about the building in a most indiscriminate manner. I presented them to the Memorial on the distinct understanding that they were to be kept together’. Edgar Flower’s son Archibald replies in an undated carbon, from The Hill, Stratford on Avon: ‘I am indeed sorry that there should have been any misunderstanding and that you who have been a govener [sic] so long should have been caused pain by the rehanging of these pictures / At the time you gave these my father was chairman and I had no knowledge of your having expressed any special wish as to th[e] grouping.’ The other five items relating to this complaint are a copy of a letter of complaint from Boddy to W. S. Brassington (‘being that you were Librarian at the Memorial Theatre when I presented my collection of pictures’) stating that he has ‘demanded the return of all my pictures’, and two copy letters from W. S. Brassington to Boddy, one referring to ‘these tiresome people at Stratford’, and copies of a memorandum ‘Suggestion for Inscription / Collection of Historic Portraits’, and note (to Stewart Dick, see below), stating that the matter is in the hands of Boddy’s solicitor. Other material comprises: ONE: ALS (copy?) from Boddy to Brassington, Ashted Row [Birmingham], 11 December 1899. Giving details of seven portraits he would be ‘pleased to present’, and suggesting that he visit to view them. ‘Though the portraits do not relate to Shakespeare, I think when you see them you will agree with me that they will be a valuable and most interesting addition to your collection.’ TWO: An ALS from Brassington, 31 August 1910, hinting at trouble to come with regard to ‘the circumstances connected with your suggestion for a tablet’: ‘Your wishes were clearly expressed to the committee when the pictures were received, & would be recorded in the Minute book. / It seems to me that the words quoted by Mr Archibald Flower constitute a condition & that the gift was accepted on those terms - certainly that is what I understood.’ THREE: Two ALsS to Boddy from Stewart Dick, one 22 July 1916, on letterhead of the Old Brewery House, Stratford-upon-Avon, the other undated, on same letterhead cancelled in favour of Shakespeare Memorial Theatre. He begins the dated letter: ‘Mr Lowndes has handed me the letter from Messrs Philip Baker & Co regarding your pictures. Dont you think that the best plan will be for me to run up to you one day next week? [...] I am sure, after meeting you the other day, that we can arrange the matter quite amicably without troubling the lawyers further.’ On the reverse of the letter is a pencil draft of Boddy’s reply, informing him that ‘the matter is now entirely in the hands of my solicitors’ (for typed carbon of which, see above). Dick’s second undated letter is a longish one (4pp, 12mo, 67 lines), apparently from the time of the donation, commenting enthusiastically on the pictures and asking for information about them. FOUR: Transcription by Brassington of ‘Suggestion for Inscription’ by Edgar Flower, dated April 1900. States that the collection of twelve paintings was ‘presented to the Shakespeare Memorial Association by Evan Marlett Boddy Esqr. F.R.C.S., on condition that the pictures be kept together, and not removed from the Memorial Buildings at Stratford on Avon.’ FIVE: An ALS to Boddy from Charles Lowndes, 26 April 1900, on Shakespeare Memorial letterhead, apologising for spelling Boddy’s name wrongly. SIX: Signed receipt for ‘Black & gold frame’, from J. Morgan of Stratford-upon-Avon, 12 January 1901, on his letterhead. SEVEN. Printed notice by ‘Edgar Flower, / Chairman’, Shakespeare Memorial, Stratford-upon-Avon, dated 20 June 1900, regarding ‘Presentation of William Page’s Bronze Bust of Shakespeare’ to the Whitefriars’ Club, City of London. EIGHT: Printed ‘Fifty-second Report of the Council, to be submitted to the General Meeting of the Governors [of the Shakespeare Memorial Theatre, Stratford-upon-Avon] convened for Monday, April 23rd, 1928.’ 4pp, folio. With long list of officers and governors, statement of expenditure and receipts, and report of executive council.